The Jude Anthany Joseph Interview | 'I Always Have A Back-up Plan; That's How I Pulled Off 2018'

THERE'S an anecdote about filmmaker Jude Anthany Joseph that’s fondly shared by his actors. After the interval of the FDFS of his debut film, Ohm Shanthi Oshana (2014), a jubilant Jude reportedly told his producer to keep a 100-day poster for it ready. He had that same disarming confidence during the making of 2018 as well.

If a charming rom-com like Ohm Shanti Oshana debunked a lot of the stereotypes associated with teenagers and women on celluloid, two years later, Jude made a film with a cranky elderly woman as the protagonist (Oru Muthassi Gadha). In Saras, he had a young aspiring filmmaker decide she never wanted to have children.

Jude’s films always have interesting female characters, and address an issue with the minimum of fuss. Not all of these experiments have worked. In that sense, his big-budget spectacle 2018, based on the devastating Kerala floods, is way out of his comfort zone. However, those who have seen the film vouch for the emotional layers they’ve always come to expect from Jude’s films. As 2018 joined the 100-crore club in Malayalam cinema, we caught up with the director for a quick chat.

How would you summarise your 2018 journey?

This film was an emotion… During the floods, water entered my house, my car was swept away, and I was going through depression. That’s when an NGO called Bodhini (I did a ‘No go tell’ video starring Nivin Pauly for them) suggested that we do a motivational video for those affected by the floods. I hadn’t really followed the television or print news then and so when I collected the source material, I realised that there was a human interest story in it. Then I thought of making it into a film. Since everyone was skeptical about whether or not I could pull it off, I decided to take up the challenge. The film was dropped in between. (But) we went behind this film, and it went smoothly. I don’t know if I will be able to do it again.

Editor's Pick: 2018 Is Jude Anthany Joseph's Ode To Kerala's Resilience

Were there any references for this film?

I thought there would be many. But there are only a few, and bid-budget ones in Hollywood, Korean and Norwegian cinema. So the art director and I sat together and laid out a plan to do something within our budget constraints. All films will be fresh, but they will link with the route map of some films. But we didn’t have the budget to take any such route.

Which was your favourite moment?

I have perhaps seen the film countless times, but my favourite remains that scene when the officer salutes a common man during the airlifting.

Which was the most challenging scene to pull off?

Every scene was but we knew that the minute we had such doubts, it won’t be easy to execute. The first portion of the sea required VFX, but it was shot in water. There was no sea or ship. So we planned it accordingly. We would only know how the scene will turn out after seeing the graphics. Even the graphics were improvised several times.

Was Tovino an instant choice because he was also personally involved in the flood relief operations?

Not at all. We wanted an ordinary man, but one with a great physique and with an inclination to physically exert himself for the role. Tovino was one such actor. I was also his friend. He did ask me how I was going to do it, but I told him to trust me, and he did. All the actors have contributed to the film. That is something that happens in my films all the time. You need a great team to make a great film.

What was the lesson you learned while making 2018?

Whether it is a big or small film, we will have an aim. Saras was a film targeted for OTT. But this was a familiar story. I realised that when we make a film with so much passion we can do wonders. I became aware that I haven’t made that kind of effort in my earlier films. I think a filmmaker is constantly on a learning curve. I learned the possibilities of graphics through this film. This was a visual blend — practical and visual effects — and I intend to use that in my future films.

Did it scare you at some point?

Strangely, no. During the shoot and release of the film, I used to tell my DOP that we are going to be in the top league once this film releases. I was that confident.

Lal was great casting…

While looking through the camera, I could feel it. I remember him telling me to go for a replacement if there were date clashes, but I told him he was irreplaceable. In fact, all my actors were my first choice. And since it was about the floods, every actor was operative as they felt they were going to be part of history.

You knew exactly at what points the audience would cry, didn’t you?

Yes. Even when Tovino dubbed, he cried, and if he cried without the BGM, I know everyone would be as teary-eyed. Emotions work all the time. I don’t think anyone can leave the theatre without crying. When I attended the show in Mumbai, I was skeptical because of the language issues but got a standing ovation. I never got that kind of appreciation for my film.

When do you feel the need to make a film?

It starts with a story. The writing process will take time. Once that’s approved I go ahead with the film. For 2018, I took the 12th draft. So many people will be watching your film and then there is no going back. Writing is the biggest process. As an audience I should get excited, then I go ahead.

You have made feel-good films. Director Akhil Sathyan says when people call a film feel-good, it somehow infantilises your craft as a filmmaker…

I think it is all about making you feel good. It can uplift your mood. I love dabbling with the genre. And I will continue to make such films.

People still talk a lot about Ohm Shanthi Oshana…

Ohm Shanthi Oshana was very fresh. Even now people ask me about the film. I did consult with a few of my female friends while crafting the character of Pooja. And they all said her reactions were spot on. But my second film, Oru Muthassi Gadha was okayed in the first draft. I felt I should have done it better.

Which was that one film that inspired you to turn into film direction?

It has to be Krishnagudiyile Pranayakalathu. I was in grade 10 when I saw it on TV. I remember crying towards the end and then noticing the ‘directed by Kamal’ title card and realised that maybe direction is the best job in the world. From then on I started nursing the ambition to become a filmmaker. The struggle was there but I think you need to keep the fire within you alive. If you consistently pursue it, it will manifest. We shouldn’t give up. Therefore I don’t feel that it has been a struggle.

How do you see the various interpretations of your film?

I read everything. I check to see if they have got what we perceived. And only in this film did I feel that they have got most of what I (intended). I think there are more elements that need to be discovered. In OTT they will discover it. Only when critics are there will we get better. I will surely use the inputs in my next film.

What is your greatest skill as a filmmaker?

I always have a plan, and if that doesn’t work, I will have a Plan B or C. So even if nothing works, I will still have a backup plan. That’s how I pulled off a film like 2018.